Circles, lines, spots and stripes descend on the City Gallery in Leicester this week in Pattern Recognition, a major group exhibition exploring pattern in contemporary art. Here, Dryden Goodwin scratches careful, sometimes unnerving, patterns onto the surfaces of photographs he has taken, while Gemma Holt has fashioned together a carpet of block colours using tiles sized to her own measuring system (the 'G', also the basis for her G5 paper-sizing system). Holt has also created sets of pencils and biros, which she structurally bends, twists, bows and breaks to create visually pleasing shapes.

Over in Glasgow, the Mary Mary Gallery is enticing visitors with Lorna Macintyre's poetic exhibition Sentences Not Only Words. Macintyre's work uses a combination of photographs and sculpture referencing French art critic Guillaume Apollinaire and Portuguese poet Fernando Pessoa. Her four-part sculpture Wine is Strong / A King is Stronger / Women are Stronger Still / But Truth Conquers All, is made up of four tall plinths corresponding to the four lines of the title. Each plinth is topped by a pencil-sized rod of copper; the first has one, the second two, until on the fourth plinth, four rods make the shape of a diamond. In another work, a black and white photograph of a tree stump in winter finds an echo in Macintyre's Winter Sculpture, a tree branch to which the artist has applied a fine layer of gold leaf.

In Norwich, it's your last chance to catch Lynn Hynd's exhibition Torn Gestures at the artist-run gallery Outpost this weekend. Flat plaster sculptures lean against the gallery walls shaped like huge pieces of torn paper. The artist has screen-printed monochromatic collages directly on to the soft plaster of the sculptures, resulting in sections of blacks, whites and smeary greys reminiscent of old newspapers, scuffed by time and difficult to read. Glasgow-based Hynd refers to the works as amputations or cuts, citing the influence of collage artist and paper-tearer Hans Arp, who was interested in the "cut that separates humankind from the goal it longs for: oneness".

SE8 is a new gallery in a former house in Deptford, an area of south London that seems to be attracting increasing numbers of artists. For the opening programme, Cabinets, artists are invited to exhibit their work in three cabinets of curiosity - or 'Wunderkammer' as they're also known.. The fourth exhibition in this season, currently on show, is Studies for Adam and Eve by Daniel Silver. Silver is a sculptor known for his exploration of the human head, and the cabinets here are filled with wonky, roughshod heads of plaster and clay, with eyes and noses in all the wrong places. Some spill out of pots, while others are carved in wood. Our heads, Silver reminds us, are always works in progress, and need constant attention.

North of the river, in the West End, Polish painter Wilhelm Sasnal is a master of many different styles – flat, glossy, abstract, chalky, slick or pop – bound together by a unique way of seeing. Sasnal's latest show at Sadie Coles includes many works on the subject of food – namely, its transport and wastage, and the political and social economies connected to it. In his Untitled (rice), painted in 2000, a flat grey field spills out towards the viewer, peopled by stooped silhouetted figures that look as though they might be drowning in it. In another, unmarked black barrels gleam ominously – do they hold cooking oil or crude oil? These paintings are accompanied by quieter moments – a swirling, toothpaste-like wave breaking on to a shore, a black night sky, bare feet reflected in puddles on the beach.